Design games as a tool, a mindset and a structure Kirsikka Vaajakallio

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Chapter 5: Play-qualities in co-design gatherings: Design game designer’s perspective 173 5.1 Shared focus of attention in co-design gatherings 5.2 Leaving visual traces: material meanings in co-design 5.2.1 From predesigned material to materialising discussion in-situ 5.3 Design games as tools for binding inputs from various people 5.3.1 Permission to make claims 5.3.2 Co-designing design games 5.3.3 Setting the boundaries for contribution 5.3.4 Letting user and interest group input dominate the performance 5.3.5 Rules for interaction 5.3.6 Several insights embedded in the resulting design representation 5.3.7 Constructing a shared perspective 5.3.8 Insights through role-play 5.3.9 Role-playing as a strategy for human centeredness in co-design 5.4 Transporting participants into another world 5.5 Revising the Play framework 175 179 182 184 186 189 190 192 194 195 196 199 203 204 208 Chapter 6: Play framework for co-design 215 6.1 Elements of the Play framework 6.1.1 Design games as a tool 6.1.2 Design games as a mindset 6.1.3 Design games as a structure 6.2 Looking back on my journey 6.2.1 Reflection on research aims 6.2.2 Reflection on the process and research approach 6.2.3 Recommendations for future research 217 221 223 225 228 229 232 233 References 237 7
This thesis has been made possible by great support from many people and I want to express my gratitude to all of them. This research was carried out mainly in Extreme Design project, but also through several other case studies in which I collaborated with other doctoral students, researchers, professors, and companies. I am grateful to Tekes – the Finnish Funding Agency for Technology and Innovation, participating companies, and Design Connections Doctoral School for enabling my work. I want to thank especially Tuuli Mattelmäki and Thomas Binder whose supervision have guided me through this research journey. Besides giving constant feedback they have been always available for discussions whether I was in Finland, Denmark or somewhere in Asia. I am also grateful to Turkka Keinonen who insisted me to apply for the Design Connections Doctoral School and has ever since provided valuable comments for my work. I want to thank all those people who made it possible to visit Danmarks Design Skole and National University of Singapore as part of my studies. I also wish to express my gratitude to Pieter Jan Stappers and Mervi Hasu for reviewing my manuscript and giving me important feedback. Thanks to Eva Brandt for sharing her valuable insights into design games through our various interesting discussions, and Andres Lucero and Petra Ahde, whose projects provided test beds for this thesis. Special thanks go to Jung-Joo Lee, a dear friend and a colleague, with whom I have been exploring codesign and design games in several cases. I would also like to thank all those who have been writing various papers with me, and those who have been supporting the writing process with valuable comments and discussions. It has been a great pleasure to work with: Maarit Mäkelä, Ilpo Koskinen, Salu Ylirisku, Salil Sayed, Lei Wang, Vesa Kantola, Vilma Lehtinen, Anu Kankainen, Mikael Runonen, Peter Kaario, Sofia Johansson, Kati Vehmas, and all the other great people related to my research projects, Design Connections Doctoral School, Department of Design, and Aalto University at large. Last but not least I would like to thank my family and friends whose support and delightful company have given me strength to go through this research journey. I am grateful to my husband Ville Vaajakallio who has kept me sane during the process, believed in me, and continuously encouraged me even in times when my work has dominated our life. Acknowledgements Design research has increasingly taken an interest in inviting users and other stakeholders to contribute in the early phases of the design process. In the discourse of organising creative collaboration, design games have become a popular concept; the game metaphor has been widely adopted to describe several design activities, which at first glance do not necessarily share many similarities with each other. Thus, the concept of design Abstract 8
Page 1 and 2: 5mm Design games as a tool, a minds
Page 3 and 4: Aalto University publication series
Page 5: Chapter 3: Diving into games, play
Page 10: Chapter 1 Setting the stage for co-
Page 13 and 14: When I started my research, my view
Page 15 and 16: three terms throughout the disserta
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What I find worth of further studie
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According to Wright and McCarthy (2
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in its aims of eliciting inspiratio
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Contextual approaches in performing
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Above I pointed out some of the ben
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Sensitising in empathic design ofte
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example through the performance. Ma
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are intertwined: since the stage is
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ative was a story about an archaeol
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sign partners are not professional
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as inspiration and empathic underst
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Fig.17 In this dissertation, when I
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The selection of props is relevant
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enhancing the creativity of ordinar
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Chapter 3 Diving into games, play a
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Design games: As a research tool. F
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Like concept design games organizat
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(2000) have proposed a technique ca
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96 methods for this category typica
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designing involves agreement-making
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about qualities, but instead focus
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utilized card based approaches in s
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with someone who is employed by the
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size and amount of video-cards can
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ut not be overwhelming, and so fort
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Common qualities for all design gam
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or revelations may emerge. These in
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ing the introduction speech, consid
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“In one case games are systematic
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ut it still has all the essential c
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According to Caillois (1961, p 5),
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as artistic events, many of them sh
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e-invention: betwixt and between. I
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It could be claimed that the notion
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The critique that Ehn and Sjögren
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emained the same, the players have
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materials. As such, design game is
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This chapter discusses how the Play
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(discussed in pages 94-96); in that
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Fig. 31 The phases are partly overl
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Since the approach emphasis on desi
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4.3 The three cases: Seeking for ne
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methods as well. In the Project Pla
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The methods placed under different
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The difficulties in encouraging par
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Some of the personal discoveries ma
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whereas in the first time the metho
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out-of-box thinking in co-design. I
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services. The Extreme Design case s
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3 Experiences that the participants
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As was illustrated, the development
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4.4 The fun of playing Fig. 43 Desi
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Fig. 45 A sequence of the game: Nin
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which the turn to introduce a scena
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a radio play by taking the characte
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4.5 Between a process overview and
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This chapter discards the chronolog
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the places of the cards, and throug
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5.2 Leaving visual traces: material
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happen in the magic circle that is
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action in the Character Game, a spe
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presented earlier, we may analyse t
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words, everyone had mixed roles as
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simultaneously. The emphasis given
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During the design games, the discus
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The notion that people are easily c
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Fig. 58 Participants started to go
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and one from YIT, referred as Playe
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5.3.8 Insights through role-play On
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Player 4: “I have my mobile phone
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As has been mentioned previously, r
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Like Hannu and Nina, who began joki
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Planning Game, mainly utilised desi
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dependent from the overall applicat
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ous people and what information is
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epresentations such as co-construct
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Whereas metaphors are useful in gui
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framework, this theoretical backgro
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6.1.1 Design games as a tool As Kei
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ery design researcher designs an ap
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printouts given to the participants
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The purpose of role-immersion, for
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6.2.1 Reflection on research aims I
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1 2 3 The Project Planning Game str
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the design purposes, but, since I w
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As has been discussed in relation t
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Fulton Suri, J. (2003). Empathic de
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Sanders, E.B.-N. (2002). From User-
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Design games as a tool, a mindset and a structure Kirsikka Vaajakallio

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